tag:blogger.com,1999:blog-77986883170160555672014-10-02T05:24:47.473+01:00Rainer UsselmannText and ImagesRainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-7798688317016055567.post-41373487551230621482014-07-24T22:19:00.001+01:002014-07-24T22:41:10.698+01:00
I have moved:
www.gradeworks.tv
Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-6804541916571513832009-03-20T08:00:00.003+00:002009-03-23T19:29:56.880+00:00110022042008Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-7697475350844143522009-03-19T12:37:00.000+00:002009-03-22T12:22:15.443+00:0018. Oktober 1977: Gerhard Richter's Work of Mourning and its New AudiencePreludeIn Mourning and Melancholia, Sigmund Freud describes mourning as The reaction to the loss of a loved person, or to the loss of some abstraction which has taken the place of one, such as one’s country, liberty, an ideal, and so on. [The work of mourning sets in when] reality-testing has shown that the loved object no longer exists, and it proceeds to demand that all libido shall be Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-15847425531286309442009-03-18T12:43:00.000+00:002009-03-22T12:22:28.038+00:00CAA Art Journal Award 2003New York, February 19th 2003First and foremost, I would like to thank former Executive Editor Janet A. Kaplan and Editor Michelle Lee-White, without whom I would not be standing here today. Janet took the time to engage with a dense piece of writing that was submitted to Art Journal entirely on spec whilst Michelle made sure that I wasn’t going to win the Bad Grammar Award.When I left last SundayRainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-7497578056979605402009-03-17T07:57:00.000+00:002009-03-22T12:22:42.599+00:00The Dilemma of Media Art: Cybernetic Serendipity at the ICA LondonABSTRACTOne year after the 1967 Summer of Love and at a time of considerable political unrest throughout the United States and Europe, "Cybernetic Serendipity---The Computer and the Arts" opened at the Institute of Contemporary Art in London to much critical and popular acclaim. This paper outlines the conceptual framework of this seminal exhibition and looks at some of the accompanying press Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-45557033506151990542009-03-16T23:30:00.001+00:002009-04-17T14:51:48.002+01:00Flow and Presence in Bill Viola’s ‘The Passing’I. Introduction: When, in a 1998 article, Peter Lunenfeld described video as ‘simultaneously exhausted and energized’01 he gave expression to the extraordinary success with which audio-visual media have been transforming a whole gamut of cultural production over the last decades. From the museum’s white cube to the dingy dungeons of underground clubs; from nose cones of smart bombs to You’ve BeenRainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-81564620727649021942009-03-16T12:57:00.000+00:002009-03-22T12:22:57.889+00:00From Stasis to Ekstasis: Creating Gradients of DesireEvery time I drive my car, I cannot but marvel at the sheer complexity of traffic, its volatility, and lifelike behaviour. On a given morning, hundreds of thousands of individual journeys are channelled through an intricate network of roads and motorways. Like goal-driven, independent agents, people interact through their vehicles with other agents in response to changes that occur when other Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-43750572513704563302009-03-15T12:05:00.000+00:002009-03-22T12:23:30.199+00:00Basel-KarlsruheFriday, 06.08.99The fitting title of the first exhibition on my agenda is Face to Face to Cyberspace, staged at the Museum/Fondation Beyeler in Riehen, a suburb of Basle. Designed by Renzo Piano in 1997 as an elegant, flat and airy pavilion-style structure, the museum houses the sizable collection of Swiss Galerists Ernst and Hilda Beyeler. Works by Cézanne, Picasso, Rousseau, Mondrian, Klee, Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-43645050424878447182009-03-14T13:06:00.000+00:002009-03-22T12:24:02.499+00:00Verwischungen1 EinleitungIm grauen London finden Gegensätze auf eine andere Weise Ihren Ausdruck. Das Wetter bietet sie jedenfalls kaum; dafür ist es zu gleich bleibend trist. Im diffusen Zwielicht eines nichtendenwollenden Nieselregens verschwimmen die Höhen und Tiefen, das „hier“ und „dort“, Ecken und Kanten verflachen, der Blick verliert seine Schärfe. Ein Schleier von müder Trübheit legt sich aufs Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-56862390322968633152009-03-13T13:02:00.000+00:002009-03-22T12:24:31.492+00:00POV'in cyberspace, point of view does not emanate from the character; rather the pov literally is the character. If a pov is annihilated, the character disappears with it […].' 4Hayles, N. Katherine. (1999). How we became Posthuman - Virtual Bodies in Cybernetics, Literature and Informatics, Chicago: University of Chicago Press, p. 38In my text “About Interface: Actualisation and Totality” I Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.comtag:blogger.com,1999:blog-7798688317016055567.post-21865632847965321582009-03-11T10:30:00.015+00:002009-03-23T14:43:29.437+00:00Images153023042008115222042008121522042008113922042008112723042008155023042008115522042008112223042008160423042008095623042008095223042008Crop 09Crop 08Crop 04Crop 03Crop 01Greek 19Greek 18Greek 11Greek 04Greek 02Paste 93.2 ('Presences' @ Photographers' Gallery London)Paste 93.4 ('Presences' @ Photographers' Gallery London)Paste 93.5 ('Presences' @ Photographers' Gallery London)Paste 93.1 ('Presences' Rainer Usselmannhttp://www.blogger.com/profile/16575079340917048069noreply@blogger.com